In our Composer Spaces series, we ask composers to share a bit about their working environment and to give us a brief insight into their process. This week we present composer, Gillian Whitehead.
What does a typical composing day look like for you?
Breakfast, or coffee, then start work. Work until I run out of steam, have lunch, maybe go for a walk or read, then work in shorter and shorter bursts (composing, emails, phoning, whatever). That’s the pattern most workdays. I try to keep workdays free of other engagements until the evening, otherwise, I keep clockwatching and can’t focus properly.
Please describe the space where you compose your music.
I’ve two places – one in Northland, one of the Otago peninsula where I am at present. It’s a studio I had built, separated from the house by a deck, with views across the harbour and of trees; the place was a paddock when I came here 25 years ago.
What equipment (including software) do you have in your space?
Computer, keyboard, pencils, erasers, manuscript paper, books. Nothing special – what’s special is outside the windows – trees, birds, passing boats.
Please describe your typical composing process, does it change with each piece?
When I have an idea or two for the beginning of a piece, I play with it for a while, until it (hopefully) makes some sense. I tend now (as opposed to previously when I had a ‘blueprint’ of the whole from the outset) to work it over and over, until it feels right, with the right trajectory for the scale of the piece. It becomes the beginning of a piece rather than abstract play almost without my noticing, and from there it continues, but I keep returning to scan from the opening, until, at some point, there’s nothing more I want to do. Working with a text is a bit different, though.
What are you currently working on in your space?
I’ve just finished a short string quartet for the APO’s Beethoven 250 Celebrations in March. It will be played in the Concert Chamber on Monday 23rd March at 6 p.m. by a Young Achievers quartet.
Now I’m returning to a half-written staged monodrama for baritone and ensemble on a World War 1 theme which has performances planned in NZ and the USA.
SOUNZ blog is designed for expressive discussion and debate amongst the arts and broader community. This is intended to be a safe space so please remember to keep comments respectful and avoid personal attacks, criticisms of specific organisations and defamatory language. Comments are moderated to ensure that they comply with SOUNZ’s Community guidelines.
